Industrial design

Welcome INSIDE video games

In the Panoscope 360, an inverted dome three metres high in which images are projected, the spectator is physically immobile but moves virtually with the use of a joystick. The occupant discovers a series of impressionist worlds, from a simple three-dimensional grid to cube-shaped clouds and rolling landscapes. Forum checked it out, and what a trip, with an impressive soundscape to boot!

This installation, by Luc Courchesne, Director of the École de design industriel at the Université de Montréal, recreates a three-dimensional universe where the individual is literally plunged into an audiovisual world. The synthesized images were designed by Mr. Courchesne in collaboration with Guillaume Langlois of the Society for Arts and Technology.

Another version of Panoscope pushes interactivity even further. Somewhat along the lines of the earlier generation of gamebooks, which were all the rage in the ‘80s, the spectator is invited to choose from a selection of actions. The video sequences are projected in the dome based on the spectator’s choices. For example, the spectator may find him or herself walking along paths in the Japanese countryside, entering homes and meeting characters.

It’s no wonder that Mr. Courchesne’s work has caught the eye of the videogame industry. Consoles where customers can enter into the system and interact with their whole bodies could usher in a small revolution in the entertainment industry.

The École de design industriel is working in partnership with Ubisoft to create a specialized graduate study diploma (DESS) in game design. Ubisoft’s training needs are such that the company has agreed to supply the space and equipment, while the Université de Montréal will provide the teachers. The goal is to start receiving students in fall 2006. Once the DESS is established, the plan is to create a master’s and bachelor’s program as well.

Mr. Courchesne believes that virtual reality and interactivity are the cornerstones of art in the 21st century. In spite of the avant-gardism of his Panoscope, he is not out of step with the march of art history: “I’m reinterpreting an old idea,” states Mr. Courchesne. “In the 19th century, panoramas were very popular. Crowds would gather in rooms shaped like domes with painted panels that recreated entire cities. Cinema dethroned panoramas in the 20th century with moving pictures. Today, I’m combining both of these art forms and adding interactivity.”